University of Pittsburgh

Varsity Marching Band

Drumline Technique Packet

© Pitt Drumline
Table of Contents
1. Foreword…………………………………………………………………………...Page 2

2. Audition Process…………………………………………………………………...Page 3

3. Technique and Approach to the Instrument………………………………………..Page 6

a. Snares………………………………………………………………………Page 6
b. Tenors………………………………………………………………………Page 7
c. Basses………………………………………………………………………Page 8
d. Cymbals…………………………………………………………………….Page 9

4. Concepts for Playing……………………………………………………………….Page 10

5. Music…………………………………………………….…………………………Page 11

a. Legatos……………………………………………………………………..Page 11
b. AMFT (Snares).............................................................................................Page 12
c. AMFT (Tenors).............................................................................................Page 13
d. AMFT (Basses).............................................................................................Page 14
e. Gallop………………………………………………………………………Page 15
f. PD (Snares)...................................................................................................Page 16
g. PD (Tenors)...................................................................................................Page 17
h. PD (Basses)...................................................................................................Page 18
i. TR (Snares)...................................................................................................Page 19
j. TR (Tenors)...................................................................................................Page 20
k. TR (Basses)...................................................................................................Page 21
l. CatBasket…………………………………………………………………..Page 22
m. The Chug…………………………………………………………………...Page 23

Page 1
Foreword
Thank you so much for your interest in the Pitt Drumline, affectionately known as “The
Crew”, and for taking the first steps in joining our ranks as the new generation of percussionists
to serve as the heartbeat for the Pitt Band, as many have done before you in the last 112 years.
By doing so, you have put yourself in the top percent of people in this activity and have already
shown that you have the desire to continue your percussive career in college, as well as
continuing to grow as a performer. It does help that you have the ability to perform in front of
crowds as big as 70,000 people at Acrisure Stadium! Before we can begin our quest to take the
season by storm, we must first set the line.
In this packet, we will discuss the following: The Audition Process, Technique and
Approach to each instrument, and Concepts for Playing. Please make sure you are familiar with
all music and exercises, as well as how we approach technique and our rehearsal etiquette. While
memorization is by no means a requirement, if you work with the music enough, there should be
no problems memorizing it. Happy practicing and we cannot wait to meet you at the audition
camps!

Page 2
The Audition Process

Auditions for any performing art can be daunting and stressful. All too often, we see potential
Pitt Drumline hopefuls come to our auditions either anxious or under-prepared, making it
difficult for them to give their best performance at the audition and making it hard for us to
evaluate what they are truly capable of. For these reasons, we have prepared this “Audition
Guide” to give you an outline of what we look for in prospective drumline members, as well as
some insight on what we expect during the weekend of the audition camp.

WHAT WE LOOK FOR...

While it is hard to completely define what we look for in auditionees, we do expect that everyone
who is selected will at least have a cursory understanding of the concepts presented below. We
as a group hold these values to be true, and they generally reflect the “culture” of the Pitt
Drumline. Each concept listed below is explained in great detail in the What We Look For
document, which can be found on the drumline homepage on the Pitt Band website.

Coachability
Musicianship
Timing
Chops
Confidence
Commitment
Teamwork
Pride

INDIVIDUAL AUDITION: WHAT TO EXPECT

During the individual audition, you will be in the band room with a few staff members, who will
ask you to play a sampling of the exercises included in the warm-up packet, at various tempos,
with and without a metronome. This will include a small excerpt from our parade cadence. We
will also ask you to play a piece of your choice that best demonstrates your ability. This can be
anything: an old high school show excerpt, cadence, or exercise, a drum corps lick, a solo you
wrote, etc. Don’t forget that while stick tricks and the like can be fun and entertaining, we
want to see that you have a solid technique foundation first. We will use a rubric that will be
standardized for every auditionee and will be filled out with feedback, an initial rating, and
recommendations on which squad we feel is the best fit for you to audition for at camp based on

Page 3
your rating. Please keep in mind what we discuss in Coachability as we make our
recommendations!

This can often be the most stressful part of the audition process. The most important advice we
can give you is to relax. Keep the concepts in What We Look For in mind and remember that
while you want to do well in your individual audition, it’s only one part of the audition process.
Don’t psyche yourself out for the audition camp just because you’re nervous about how your
individual audition went!

THE GROUP AUDITION

The drumline holds a group audition camp over a weekend in late June. For most of the
weekend, you will be in a squad (sectional) or full-ensemble rehearsal setting, going through the
warm-up packet while learning the ways of the Pitt Drumline. This is considered the “group
audition”. The group audition will be led by staff members or squad leaders. The purpose of the
group audition is two-fold: for us to get a sense of how well you work in an ensemble setting,
and for you to familiarize yourself with the way we operate. This audition camp is to understand
what type of people and talent we have, and then begin the process of placing those people into
the spots that will hopefully maximize our “overall drumline chemistry”. No, we’re not
talking about hard sciences here... “chemistry” to us means deploying people in a way that takes
advantage of their strengths and minimizes their weaknesses, while providing the maximum
benefit to the ensemble as a whole. Simply stated, we know we have you in the right spot if the
drumline sounds worse when we move you somewhere else!

Again, it is important to relax during the group audition. You will likely have a ton of
information being thrown at you during this time, and if you start to stress out, it will only
negatively affect your ability to control your own situation. There may be some things we do
that go against what you’ve previously been taught. We aren’t here to tell you that there’s a
“right” or “wrong” way to drum, but we do expect you to keep an open mind and be prepared to
adapt to your surroundings, because “our way” is the only way we like to do things around here.

AUDITION RATINGS
At the end of the individual audition, every auditionee will receive a rating for each squad that
they auditioned for – based on their performance up to that point – as well as comments and
recommendations for the first camp. A final rating will be given after the first camp has
concluded. Here is what the audition ratings mean:

1) – Congratulations! You will be accepted into this year’s (Snare / Tenor / Bass /
Cymbal) squad.

Page 4
 2) – With minor improvement, you should be accepted into this year’s (Snare /
Tenor / Bass / Cymbal) squad.

3) – With significant improvement, you may be accepted into this year’s (Snare /
Tenor / Bass / Cymbal) squad.

4) – Unfortunately, you have not been accepted into this year’s (Snare / Tenor / Bass
/ Cymbal) squad. We encourage you, however, to continue improving and come back
next year.

Keep in mind that getting a “2” or “3” rating does not mean that you are “cut”. We always
say, “the line isn’t set until band camp”, because every year, without fail, someone is offered a
spot in the line, and then, for one reason or another, does not come back.

GOOD LUCK!

Page 5
Our Technique and Approach to the Instrument

Snares
Left Hand: The stick should sit in the fulcrum of the left hand; situated between the bottom
knuckle of the thumb and in between the lowest and first knuckles on the first finger.
Concentrate a squeezing pressure on the stick here. Allow your thumb to touch the middle
knuckle on the first finger, and hold it there whilst playing. Allow your middle finger to curl over
and, with slight pressure, remain on top of the stick, and the third and fourth fingers should rest
underneath, applying slight pressure upwards. Your grip on your left hand should reflect the
natural curvature of your hand, meaning that your grip should not feel unnatural or painful in any
way.
When initiating the stroke, initiate from the bead of the stick and have that energy move from the
bead, to the wrist, and eventually, the arm. Be sure to turn the wrist and then use subsequent and
reactionary arm, meaning that arm SHOULD NOT be the primary motivator of the stroke at any
dynamic EXCEPT ff and louder.

Right Hand: The stick should sit in the fulcrum of the right hand, situated between the pad of the
thumb and the middle knuckle on the first finger. Allow the other three fingers to naturally curve
under the stick and maintain that shape while playing all strokes and variations. Have the butt
end of the stick rest around ⅓ of the way down the palm. Have the wrists turned over in order to
have as much movement as possible. The right arm should be held so that the sticks form a 90
degree angle, but do not stick the elbow out far away from the body.
Initiate the stroke, again, from the bead of the stick and have the energy move from there. The
hand and wrist should move slightly faster than the stick while playing to generate as much
velocity as possible at the specified height. Only use as much forearm/arm as needed - be as
energy efficient as you can while playing.

For both hands, use the natural weight of your hand and arm to stop the stick’s movement, as
opposed to squeezing at the bottom of the stroke.

Page 6
Tenors
The stick should sit in the fulcrum of your hand, situated between the pad of the thumb and the
middle knuckle on the first finger. Allow the other three fingers to naturally curve under the stick
and maintain that shape while playing all strokes and variations. Have the butt end of the stick
rest around ⅓ of the way down the palm. Have the wrists turned back slightly in order to have as
much movement as possible around the drums and in the wrists. The right arm should be held so
that your sticks form a 70 degree angle, but do not allow the elbow to be out far away from the
body.
Initiate the stroke, again, from the bead of the stick and have the energy move from there. The
wrist should move slightly faster than the stick, and while playing, generate as much velocity as
possible at the specified height. Only use as much forearm/arm as possible - be energy efficient
while playing.
For both hands, use the natural weight of your hand and arm to stop the stick’s movement, as
opposed to squeezing at the bottom of the stroke.

Page 7
Basses
The bass mallet should be held so that no part (or very little) of the stick protrudes from the
bottom of the hand. The stick should sit in the fulcrum of the hand, situated between the pad of
the thumb and the middle knuckle on the first finger. The gap between the thumb and the palm
should be eliminated, but the pad of the thumb (contact point) should remain as flat as possible
so that maximum stick control can be maintained. Allow the other fingers to naturally curl
around the stick to provide support, but the primary pivot motion should come from the fulcrum.

Playing Position: If the drum is on a stand, ensure that the distance between the drum and body
is the same as if wearing a harness. Start by relaxing the arms at the sides of the body. Next,
bring the forearms up so that the angle between the biceps and forearms is a comfortable 90
degrees. Maintain the same index finger to thumb fulcrum and ensure that the mallet forms a 45
degree angle from parallel to the ground. While in this position, check that the bead of the mallet
is at the center of the drum head before playing. Adjustments may have to be made, such as
moving the elbows forward or pulling them backwards, but always maintain the relaxed playing
position as previously defined. Lastly, create a small amount of space between the torso and
elbows such that the hand will not contact the rim while playing. This will also ensure that the
mallet naturally points inward toward the head, which will be utilized for tacet heights on the
non-playing hand.

Playing Technique: Wrist rotation will be the playing style used (envision turning a door knob).
Initiate the stroke, making sure that the angle of the wrist does not change (remains almost
stationary) from the previously defined 45 degrees from parallel to the ground. The bead should
follow a narrow path such that each stroke has the most efficient arc pathway. Never tilt the wrist
towards or away from the playing position, as this will create a wide pathway (“O” pathway).
The bead of the mallet should lead the rotational motion. Never allow the hand to lead this
motion, as it will create a whipping effect. With regards to stick heights (see below), 15” (ff ) will
be taken as the stick parallel to the ground. For heights like this and above, the stroke will be a
wrist and arm based motion. To achieve this full extension (15”), allow the wrist to comfortably
rotate as much as possible (80-90% to parallel), then slightly move the arm away from the drum
only enough to achieve the desired height. Ensure that all strokes are made at the center of the
head with enough velocity to achieve the best sound quality.

Please consult the link provided on the Drumline homepage on pittband.com to the YouTube
channel “Bass Drum Group” and research some of their videos for visual aids in learning how to
properly hold the mallet, proper playing position, and the wrist rotation technique.

Page 8
Cymbals
Cymbals are arguably the most visual aspect of the drumline, so a lot of what you will
learn is much easier to comprehend when you see it. Therefore, this audition packet includes a
link to our google drive where prospective members have access to photos as well as videos that
explain important positions and various techniques. These links can be found on the Drumline
homepage at pittband.com
Please be familiar with the following two folders, which contain videos to prepare you
for playing cymbals with Pitt’s drumline for the first time: The Basics and Technical Videos.
It is important to be familiar with the importance of a cymbal line in the context of a
drumline. Similarly to bass drums, our parts are often split and emphasize places of impact
within the music we play as an ensemble. It is important to remember that despite the lack of
complexity in our music, it is crucial that we play with the same level of accuracy and precision
as the rest of the drumline. Additionally, we have the greatest visual capability on the line with
metal plates attached to our hands, so pushing yourself to accomplish uncomfortable tasks is part
of the job as a cymbal player. Due to the way our music is designed and how each movement we
make is amplified by the cymbals themselves, personal accountability is imperative. We hope to
be proud to play cymbals here at Pitt and expect you to practice and rehearse accordingly.
Given the instrument, practicing at home is not as easy as pulling out a drum pad with
sticks, so we encourage you to spend time with a metronome clapping through the exercises we
provide for you. Once we have an established cymbal line, each member will have access to
cymbals that can be used to practice on a regular basis.
You are not just joining Pitt band, Pitt drumline, or the Pitt cymbal line, you are joining a
family. In this family you should put your best musician forward, make every step, every note,
every rehearsal, and every performance count. You will only get out of the cymbal line what you
put into it, so work hard! You will not be disappointed by the reward of pride and most
importantly friendships.

:)

Page 9
Concepts for Playing

Dynamics and Heights:

pp = 1 inch stroke (tacet height; slight downward angle)
p = 3 inch stroke (parallel to drumhead)
mp = 6 inch stroke (1/4 extension)
mf = 9 inch stroke (halfway extension)
f = 12 inch stroke (3/4 extension)
ff = 15 inch stroke (perpendicular from head; full/vertical extension) [Basses: 80-90% horizontal
wrist and some arm]
fff = Stroke hinged from elbow (still contains wrist bend in addition to arm) [Basses: slightly
past horizontal with more arm]

Flow: A term used to describe hand/stick motion carried over longer rhythmic durations. In most
circumstances, we do not want to “stop” the motion and then restart the motion a beat, or two
beats later. Rather, we will allow the stick to “flow” during the rest. The idea of “flow” is not just
used across rests, but rather within any rhythmic structure or phrase that could possibly contain
interruptions in hand motion. The musical phrases are not separate, but rather parts of a whole,
so the momentum should carry through each phrase into the next. Be aware, this is not something
that is notated, but rather an interpretation of the music.

Rolls: Rolls are often a place of uncertainty for many people, especially when placed into a
larger ensemble setting. The “check”, or base pattern, is the hand motion and rhythms that you
play underneath the rolls, just with the double strokes or buzzes taken out. It’s crucial to
remember that when you do add in the doubles to NOT CHANGE YOUR HANDS. For
example, at a mf dynamic, focus on using your wrist and minimal arm in the check, then pump
the arms and minimal wrist through the rolls. Think about playing “down” and through the rolls,
which will not only help you stay in time, but give a much more consistent and powerful sound
throughout the duration of the roll.

Energy Efficiency: There is no need to use more effort to slam the stick or mallet into the head
or crash your cymbals as hard as possible. Use only the energy necessary in order to create the
appropriate sound.

Posture: Incredibly important across all instruments. Make sure to have your feet firmly on the
ground, shoulders square and even, and chest filling out the harness. Project outward confidence
and hold your head up, slightly above parallel to the ground. However, slight head bobbing is
encouraged when in a groove section.

Page 10
 Score
Legatos Ellis, Smithgall

8, 8, 16
q = 90 - 200

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1 2 3 4

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Tenors ã c œ œ œ œ
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Bass Drums 1

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Basses: "BD 1" split parts will follow the rotation (1s, 2s, 3s, 4s, etc.).

DYNAMICS GUIDE:
*While stick angles/heights serve as a good guideline, they are merely visual cues.
Your primary focus must be on creating a consistent, balanced quality of sound!

pp = 1" (tacet height; slight downward angle)

p = 3" (parallel to drumhead)
mp = 6" (1/4 extension)
mf = 9" (halfway extension)
f = 12" (3/4 extension)
ff = 15" (perpendicular from head; full/vertical extension)
© 2023 University of Pittsburgh Drumline
Snares
AMFT Ellis, Smithgall

Accent Tap

> > > >2 > >

A q = 124 - 188
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DYNAMICS GUIDE:
*While stick angles/heights serve as a good guideline, they are merely visual cues.
Your primary focus must be on creating a consistent, balanced quality of sound!

Accents at any dynamic correlate to these taps heights:

pp or p = 1" taps
mp thru f = 3" taps
ff and up = 6" taps

© 2023 University of Pittsburgh Drumline

Tenors
AMFT Ellis, Smithgall

Accent Tap

> > >

A q = 124 - 188> > > > > > > > > > >
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DYNAMICS GUIDE:
*While stick angles/heights serve as a good guideline, they are merely visual cues.
Your primary focus must be on creating a consistent, balanced quality of sound!

Accents at any dynamic correlate to these taps heights:

pp or p = 1" taps
mp thru f = 3" taps
ff and up = 6" taps

© 2023 University of Pittsburgh Drumline

Bass Drums (6)
AMFT Ellis, Smithgall

Accent Tap

> > > >2 > > œœœœ 3 > > > >
A q = 124 - 188

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DYNAMICS GUIDE:
*While stick angles/heights serve as a good guideline, they are merely visual cues.
Your primary focus must be on creating a consistent, balanced quality of sound!

Accents at any dynamic correlate to these taps heights:

pp or p = 1" taps
mp thru f = 3" taps
ff and up = 6" taps © 2023 University of Pittsburgh Drumline
 Score
Gallop Ellis, Smithgall

Diddle Builder
q = 160 - 200

ãc œ œ œœœ œœœ œœœ œ œœœ œœœ œœœ œœ œœœ œœœ œœœ œœœ
1 2 3

Snares
R L R R L R R L R R L R L L R L L R L L R L L R R L R R L R R L R R L
1. Drum 2
2. Arounds as Written
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Tenors

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Muted

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R R L R L L R R L R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R R L L R

‰S S ‰S S œœœœœœœ œ Œ Ó
BD ãS S S S
œœœœ œ œ œ œ œ
R R L L R L R L

© 2023 University of Pittsburgh Drumline

Snares
PD Ellis, Smithgall

Paradiddles

> >
A q = 128 - 160
> > >^3> > > > >^
ã c œ œœ≈œœ œ œœ≈œœ œœ œœ œ œ œ œ œ œ œ f œ œœ≈œœ œ œœ≈œœ œœ œœ œ œ œ œ œ œ œ f
1 2 4

f
R... R R L R R L R L... L L R L L R L

5 > > > >j > > >j > ^

ã œ œœ≈œœ œœ œœ œœ œ œœ≈œœ œœ œœ œœ œ œ œ ‰ œ œ œ ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ z œ
6 7 8

R... L... R... R L R R L... L R L L R L

B
9 > > > > > >
ã œœœœœ œ œœœœœ œ œœœœœ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
10 11

R L R R L R L R L L R L R L R R L R L R L L R L R L R R L L R R L R L L R R L L

12> > > > > > > >

ã œœœœœœœœœœœœœœœœ œœœœœ œœœœœ œœœœ œœœœœ œœœœœ œœœœ
13 14

R L R R L L R R L R L L R R L L R L R R L R L R R L R L R R L R L L R L R L L R L R L L

15> > > > > > > > > > >
ã œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œœœœœ œœœœœ œœœœ
16 17

R L R R L L R L R R L L R L R R L R L L R R L R L L R R L R L L R L R R L R L R R L R L R R

> > > > > > > > > >> >> ^^
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ f f.
18 19 20

L R L L R L R L L R L R L L R L R R L R L L R L R R L R L L R L R R L R L R R L L R L

C
21>> >> > > 22 > > > > > > > >23 > > > >
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
R L R R L L R L R R L L R L R R L R L R R L R L R R R L R L L R L R R L L R L R R L R

24 > ^ > > > >25 > > > > 26 > > >
ã œœœœœœœœz œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
L L R R L R L L R L R L L R L R R L R L L R L R R L L R L R R L R L L R L R R L L R L R R

> > > >> >> > > 29 > > > ^ > > > > >30 ^
ã œœœœœœœœœœœœœœœœ œœœœœœœœœœœœœœœœ œ œœœœœ z œ œœœœ z Œ Ó
27 28

L R L L R R L R L L R L R R L L R L R R L L R L R R L L R L R R L R L R R L R L R L R L R

© 2023 University of Pittsburgh Drumline

Tenors
PD Ellis, Smithgall

Paradiddles

> > > ^^ > ^^

z z3> >
A q = 128 - 160
> > zz
ãc ≈ œ œœ≈œœ ≈ œ œœ≈œœ
œ œ œ œ œ œ œ œ œ e œ œ œ
1

œ œ œ œ œ œ œ œ œ œ œ e œ
2 4

œœ œœ
f
R... R R L R R L R L... L L R L L R L

> > > >j > > > ^

œœ
œ ≈ œ œ œ œ ≈œœ œ œ œ œ ‰ œ ‰ œ œ >j
‰ œœz
5

㠜
6 7 8

œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œœ œ œ œ œ
R... L... R... R L R R L... L R L L R L

B > > > > > >

œœœœœ œ œœœœ œ œœœœœ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
9

ã
10 11

œ œ œ
R L R R L R L R L L R L R L R R L R L R L L R L R L R R L L R R L R L L R R L L

> > > > > > > >

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 14 œ œ œ œ œ œ œ œ œ œ œ
12

ã
13

œ œ œ œ
R L R R L L R R L R L L R R L L R L R R L R L R R L R L R R L R L L R L R L L R L R L L

> > > > > > > > > > >
œ œ œ œ œœœœ œœœœ œœœ
15

ã œœœœœ œœœœœ œœœ œœœœœœœœœœœœœ œœ œ

16 17

œ œ
^^
R L R R L L R L R R L L R L R R L R L L R R L R L L R R L R L L R L R R L R L R R L R L R R

> > > > > > > > > > > > > z z.
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
18

㜠œ œ œ œ œ e œœœ œœœœœ
19 20

œ e
> > >
L R L L R L R L L R L R L L R L R R L R L L R L R R L R L L R L R R L R L R R L L R L

C > > > > > > œ œ œ > > > > >23 > > > >
œœœœ œœœœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ eœ œ œ œ
21

㜜
22

œ œ œ œ œ œ œ e œ
^ >
R L R R L L R L R R L L R L R R L R L R R L R L R R R L R L L R L R R L L R L R R L R

> z > > >25 > > > > > > >
œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ eœ œ œ œ œ œ œ œ œ
24

㜠œ œ
26

œœ œ e œ
>> > > >
L L R R L R L L R L R L L R L R R L R L L R L R R L L R L R R L R L L R L R R L L R L R R

> > > > > > >

œœœ œ œ œ œ œ œ 28 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 29 œ œ œ œ ^ > > > > >30 ^ Œ Ó
27

㜠œœœ e œœ œœ œ œ z œ œœœœ z
L R L L R R L R L L R L R R L L R L R R L L R L R R L L R L R R L R L R R L R L R L R L R

© 2023 University of Pittsburgh Drumline

Bass Drums (6)
PD Ellis, Smithgall

Paradiddles
>
q = 128 - 160

œœ œœ > œœ > > 3> >

A

ãc S ≈ ≈œœ œœ ≈œœ S œœ≈œœ

1 2
S S œ œ œ S S
œœ œœœ œœ
f
R R R R R R R R R R R R R R R R L R L R L R L L L L L L L L L L

> >
> > 6 > 7 > > œœ
œ œ œ œ S S S S S S5 S œ œ≈œ œ œ œ œ œ
S. S. S. S. œ œ
œ œ œ œ œ œ S œ œ≈œ œ œ œ œ œ
œ œ
4

ã
L L L L L R R R R L R R L R L R L R L R L R L R R L R L R L R L R L R L... R R R R

> > 9 œ. 10 œ .
B
. . 11 œ œ œ

ã S. S. S S S œ œ œ œ
œ œ œœœœœ
8
œ œ. œ œ œ. œ
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R R R L L

15 > > >

12
œœœœœœ
œ. œ œ 14 . œ œ > œœœœ
ã œœœœœœœœ . œ. œ. œ.
œ œ œ œ
13

œ œ œ. œ . œ œœœœœœœœœ
> >>> >>>
> > > >>> >>>
16
> > œœ œ œ œ œ œ œ œœœœ œœœœ œœœœ œœœœ œœœœ
ã œœœœœœœœœœœœ
17 18

œœ œœ œœ œœ
R L R R R L R R R L R R R L R R R L R R R L R R

> > >

œœœœœœœœœœœœ> > > > > 22 > > >
C
21 œ œ

œ œ œ œ S. S. S. S. x S S œ œ œ œ œ œ œ œ œ œ S. S. S œ œ œ œ
œ œ œ œ
19

ã
20

R L R R R L R R R L R R R L R R L L L L R R L R R R

œœœœœœœœœœ œ 25 ^ œœœœ
œ œ œ œ œ S. S. S. S. S. S œ œ
23

ã œœœœ œ œ œ œ
24 26

œœœœœœ œœ œœœœ œœ
R R R R R R

œœœœœœœœœœœœœœ œ œ 29 > > > ^ > > > > >30 >
œ œ œ œ S. S. S S S S S S S S Œ Ó
27

ã œœ œœœœœœœœœœ
28

R R R R L R L R L R

© 2023 University of Pittsburgh Drumline

Snares
TR Ellis, Smithgall

Triplet Rolls
A q. = 120 - 180
1
12 ! œ œ! œ œ! œ 2 œ œ œ œ œ œ œ! œ œ! œ œ! œ 3 œ œ œ œ œ œ œ œ! œ œ! œ œ!
ã 8 œ œ œ œ œ œ œ
F
R L R L R L...

4
! ! ! ! ! ! ! ! ! ! œ! œ! œ! œ! œ!
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
5 6

>
B
>
7
!œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! 8 œ! œ! œ! œ! œ! œ! œ . x . œ œ œ œ œ œ œ œ! œ! œ! œ! œ!
ã
9

R S.C. R L R L R L...

> > > > > > >

! ! ! ! ! ! ! ! ! ! ! ! ! ! !
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œ œ œ 12
10

8
11 12

R L R L R L R L R

> > > > > > >

! ! ! ! ! ! ! ! ! ! ! ! ! ! !
ã 12
8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98
13 14 15

L R L R L R...

> > C
> > > > > > > >
9
16
! ! ! ! ! 12 ! ! ! !œ
ã8 œ œ œ œ œ œ œ œ œ 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
17 18

L R L R L R L R L R L R L R L...

> > > > > > > > > > > >
19
! ! ! ! ! ! ! !
㜜œœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ
20 21

> > > > 23 >

22
! œ! œ œ! œ! œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!24 œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!25 œ . Œ . Ó .
ã œ œ œ œ œ œ œ œ

© 2023 University of Pittsburgh Drumline

 Tenors
TR Ellis, Smithgall

Triplet Rolls

! ! !œ ! !
A q. = 120 - 180

12 œ œ ! ! œ! œ 2 œ œ œ œ œ œ œ
œ œ! œ
1

ã 8 œœœ œ œ œ œ œ œ œœœ
3

1. Drum 1 œœœ œœœ œœœ

F
2. Arounds as Written R L R L R L...

4
œ œ ! ! œ !5
œ ! œ! ! ! ! œ! 6 œ
œ ! ! œ! œ! ! !
㜜 œ œ œœœ œ œ œœœ œ œ œœœ œ œ œœœ œ
œ œœ

> >
! œ! œ! ! ! ! ! ! ! ! œ! œ! 8 ! œ! œ! ! ! ! x. œ œ œ œ œ œ œ œ! œ! œ! œ! œ!
B
7

㜠œ œ œ œ œ œ
9

œœœ œ œ œ.
R S.C. R L R L R L...

> > > > > > >

! ! ! ! ! œ ! ! ! ! ! ! ! ! ! !œ
ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 98 œ œ œ œ œ œ œ 12
œ œ œ
10

8
11 12

R L R L R L R L R

> > > > > > >

13
12 ! !
! œ! œ! œ! œ! œ œ œ œ œ œ! œ! œ! œ! œ! œ œ œ œ œ œ! œ! œ! œ œ œ 9
ã 8 œ œ œ œ œ œ œ 8
14 15

œ œ œ œ
L R L R L R...

> > > > > > > > > >
17 œ œ œ œ œ œ œ œ œ œ œ œ 18 œ œ œ œ œ œ œ œ œ œ œ! œ
! ! !
C
! ! ! ! !
ã 98 œ œ œ œ œ œ œ œ œ 12
16

8
L R L R L R L R L R L R L R L...

> > > > > > > > > > > >
19
œ œ œ œ œ œ œ œ œ œ œ œ 20 œ œ œ œ œ œ œ œ œ œ œ œ 21 œ œ œ œ œ œ œ œ œ œ œ! œ!
! ! ! ! ! !
ã
> > > > > !!
œ œ œ œ œ œ œ œ! œ! œ œ! œ!23 œ œ! œ! œ! œ! œ! œ! œ! œ! œ! œ! œ!24 œ! œ! œ! œ! œ! œ! œ œ œ! œ! ! !25
œ œ œ. Œ. Ó.
22

© 2023 University of Pittsburgh Drumline

Bass Drums (6)
TR Ellis, Smithgall

Triplet Rolls
A q. = 120 - 180

12 œœœœœœ œ œ œ œ3œ œ œ œ œ œ œ œ œ œ
1

ã 8 œ œ
2

œœœœœ œœœœœœœ œ œ
F
œ œ5 œœœœœœ
œœœœœœ
4

㜜œœœœœœœœ œœœœœœ S S S S S S
6
S S S S S S œœœ œ œ œ
R L R L R L R L R L R L

> >
9 œ œ œ œ œ œ œ œ! œ! œ! œ! œ!
B
œœœœœœœœœœœœ œœœœœœ
œ œ œ œ œ œ S. x.
7

ã œœœœœœœœœ
8

œœœ R R

> > > > >

œ œ œ œ œ œ œ œ! œ! œ! œ! œ! 11 œ œ œ œ œ! œ! œ! œ! œ! œ œ œ 912 > ! ! ! ! ! >
8 œ œ œ œ œ œ œ œ œ 12
10

ã 8

12
14 œ œ œ œ œ œ œœœœ
œ œ œ œ
13

ã 8 œ œ œ œ œ œ œœœœ œ œ œ œ œœœœœœœœ

. . . . . .
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 9 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 12 S S Sj S S . S
Muted C
15

ã 8 8
16 17

R...

. . .j . .j . . . . j . . . . 20 . j . . j 21 > > > > >

>
‰ S Œ S S S S S ‰ S Œ S S S S S S S S S S S œ œ! œ œ! œ!
!
18

ãS S SS SS S
19

R L R L R R R L R

>
22 > > > > > ! ! œ œ! œ! 23
S S S œ œ œœœœœœœœœœœœœœœœœœœœœœœœ
ãS S
R R R L R

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ Œ. Ó.
24

ã œ œ
25

œ œ œ œ œ.

© 2023 University of Pittsburgh Drumline

 CatBasket J. Wilson
Triple Beat
q = 90 - 120

A
4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! ! ! 3
SD ã4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
R R R ... L L L ... R R R ... L L L ... R L L L

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ! ! ! œ 3
TD ã4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4
R R R ... L L L ... R R R ... L L L ... R L L L

4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 43
BD ã4 œ œ œ œ œ œ

4 3
HiHat SlideChk HiHat SlideChk HiHat Slide Chokes

C ã4 x x x x t x x x x t x x x x t x t x t x t x t 4
A B A B A B A B A B A B A B A B A B A

B > > ´ > ´ > ´ > ´ ´ > ´ > ´ > > >
ã 43 œ œ ! œ œ !
5

SD
œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
> > > > > > > >
R ... L ...

ã 43
œ œ œ
œ œ œ ! œ œ !
œ œ œ œ œ œ œ œ œ œ œ œ œ
TD œ œ œ œ œ œ œ œ œ œ œ œ
R ... L ...

> >j > > >j

3 ‰ Œ S. S ‰ Œ
BD ã4 S S y S y y S y S y S y y y S y y y S y
R R L R R R L R L R L R L R R R L R R R L R

3 Œ Œ Œ Œ
5 Klunks

C ã4 x t x t x x x x x x x x
U A 1 2 3 4 1 2 3 4

C
> > > > > > > > > > > >
… ! ! œ œ …œ œ œ œ œ Œ Œ
9

SD ã œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
>
R L R
>
L L L L
>L L L
> > >
... split________________
A/B R L R
>
R R ...
^j > > >
A/B split________________
>
œ Œ Œ
ã… œ œ œ ! œ œ œ !
œ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ ‰ x œ œ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœœ
œ œ œ œ œ œ œ œ œ œ œ œ œ œ
œ œ Œ Œ
TD
R L R L L L L L L L
> > R R R L L L L
> > >
> > > > > > > > ^ > > > > > >
œ œ œ œ œ œ œ œ
BD ãS
œ œ S œ œ œ œ œ œ œ œ œ S S S S S S œ œ S œ œ œ œ œ œ œ œ œ S S S S S S Œ Œ
R R R L R R L R R R L R R L R

ã œ. œ Œ Œ œ. œ Œ Œ Œ Œ
9 CrashChokes Taps CrashChokes Taps CrashChoke

C x x x x x x x x x x x x œ
A B 1 2 3 2 3 4 A B 1 2 3 2 3 4 U

©2014 University of Pittsburgh Drumline

 The Chug J. Wilson
h = 90 - 120

> > > > > > > > > >
Check
>
Insert
6
ã 4 .. œ œ ’’’’’’ ’ ’ ’ ’ ’ ’ .. œ Œ Œ Œ Œ Œ
j j
SD
œ œ œ œ
œ œ œ œ œj œ œ œj œ œ
œ
j
œ
j
œ œ œ œ
j
œ œ œ œ
j
œ œ œ
j
œ œ œ
j
œ œ
> > > > > > >
l R L R r L R L l R R r L L l R R r L R L l R L R r L L l R R r L L

>
6 jœ œ œ œ œj œ œ œj > j j > >
ã 4 .. œ . Œ Œ Œ Œ Œ
j j œ œ œ œ j œ
œ œ œ j œ œ œ j
’’’’’’ ’ ’ ’ ’ ’ ’ .
œ œ
TD
œ
œ
œ œ œ œ œ œ œ œ œ œ œ
l R L R r L R L l R R r L L l R R r L R L l R L R r L L l R R r L L

j> >
6 œœ œ œ œj >œ œ œ œj >œ œ œj >œ œ œj >œ œ j >œ >œ j >œ >œ
ã 4 .. ’’’’’’ ’ ’ ’ ’ ’ ’ .. S Œ Œ Œ Œ Œ
œ œ œ j
œ œ œ œ j
œ j
œ œ œ œ
>
BD œ

Crash Chokes

6
C ã 4 .. œ Œ Œ Œ Œ Œ œ Œ Œ Œ Œ Œ ’’’’’’ ’ ’ ’ ’ ’ ’ .. ∑
U U

Insert Variations*
> > > > > > > > > > > > >
> > > > > > > > > > > > > > >
A B C D
j j j j j j j j
œ œ! œ œj œ œ! œ œ œj œ œ! œ œj œ œ! œ œ œj œ œ! œ œj œ œ! œ œ œj œ œ! œ
œ! œ œ œj œ! œ œ œ œj œ! œ œ œj œ! œ œ œ œj œ! œ œ œj œ! œ œ œ œj œ! œ œ
j j
œ! œ! œ œj œ! œ! œ œ œj œ! œ! œ œj œ! œ! œ œ œj œ! œ! œ œj œ! œ! œ œ œj œ! œ! œ
6

SD ã œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œœ œ œ œ œœ œ œ œ
œ œ œ œ

> > > > L R r >L R L R r >L R L l >R L R L l >R L R r >L R L R r >L R L > L R r >L R L R r >L R L l >R L R L l >R L R r >L R L R r >L R L
> > > j> ! j> ! j> > >! ! j! œ! œ! œ œj œ! œ! œ œ œj ! œ! œ œj ! œ! œ œ œj ! œ! œ œj ! œ! œ œ œj œ! !
l R L Rr L R L Rr L R Ll R R L Rr L L Rr L L R Ll R R L l R L Rr L R L Rr L R Ll R L R Ll R L Rr L R L Rr L R L l R l R

> > > j !

! œ œ œ œ œ œ œ œ œ œ! œ œ œj œ! œ œ œ œ j œ œ œ j œ œ œ œ œ œ œ œ œ ! œ œ œ ! œ œ œ œ œ! œ œ œ œ! œ œ œ œ œ œ œ
! j j j j
œ œ œ œj œ œ œ œj œ œ œj œ œ œ œ œj œ œ œj œ œ œ œj œ œ œ j
œ œœ
TD ãœj
œ œ œ œ œ
jœœ œ œ œ œ œ œ œ œ œ œ œ
j
œ œ œ
l R L Rr L R L Rr L R Ll R R L Rr L L Rr L L R Ll R R L l R L Rr L R L Rr L R Ll R L R Ll R L Rr L R L Rr L R l R L Rr L R L Rr L R Ll R L R Ll R L Rr L R L Rr L R L l R L Rr L R L Rr L R Ll R L R Ll R L Rr L R L Rr L R L

> > > > > > > j >œ œ œ œj >œ œ œ œ j > œ >œ œ œ j> œ >
j >œ œ œ j > j> j> j> j> j >œ œ œ j > j> j> j> j>
! œ œ !œ œ œj œ œ! œ œ ! œ œ !œ œ œ ! ! œ !œ œ œ œ œ !œ œ œ œj œ! œ œ œ œ !œ œ œ œ !œ œ œ œ œ !œ œ œ ! ! œ !œ !œ œ œ œ !œ !œ œ œj œ! œ! œ œ œ !œ !œ œ œ !œ !œ œ œ œ !œ !œ œ
j j
! œœœ
œ œ œ
ã SSS SSSS SSS S S SS SSS SSSS S SS
> > >
BD

Crashes Taps

ã œ ‰ œJ Œ ‰ œJ Œ Œ œ ‰ œŒ Œ Œ
6

œ x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x x
C
J
A B A B A B 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2 1 2 3 4 3 2

> > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > >
E F G H
j j j j j j j j j j
œ! œ œj œ œ! œ! œ œj œ œ! œ! œœj œ œ! œ! œ œj œ œ! œ! œ œj œ œ! œ! œ œj œ œ! j j !!!!! j ! ! ! ! ! j
œ œ œœj œœj œ œ œœj œœj œ œ œœj œ œj œœj œ œ œœj œœj œœj œ œ œœj œ œ œ
14

SD ã œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ

> j> > > > j !> > > > > > > > > > > > > > >
! œ! œ! œ! œ! > j > œ œ! œ! œ! œ! œ!
l R L R r L l R L Rr L R L l Rr L R L l R L Rr L l R L Rr L R L R Ll R R L Rr L L R Ll R R L Rr L L R L l R R L Rr L L l R L Rr L R L R L R L R L . . . l R L Rr Lr L R Ll Rl R L Rr L r Lr L R Ll Rl Rl R L Rr L RL

> > œœ !
œœœ > > > > > > > >œœ œ! œ œj œ œ! ! œ œj œ œ! œ! œœj œ œ! ! œ œj œ œ! œ! œ œ œ œ œj œ œ! œ j œ œ œ j j jœjœ j j>j> jœjœjœ
œ œ œ œœ œ œ œ
j
TD ã œj œ œœj œ œ œœj œ œ œœj œœj œ œ œœj œ œ œœj œœj œ œ œœj œ œ œ œ
j œ œ œ
œ
œ œ œ œ œ œ
œ
œœ
œ
j œ œ œ œ
œ œ
œ œ œ œ œ œ œ œ œ
œ œ œ
œ œ œ
l R L R r Ll R L Rr L R Ll Rr L R L l R L Rr L l R L Rr L R L R Ll R R L Rr L L R Ll R R L Rr L L R Ll R R L Rr L L l R L Rr L R L R L R L R L . . . l R L Rr Lr L R Ll Rl R L Rr L r Lr L R Ll Rl Rl R L Rr L RL

> > > > >

> > > > > > > > > > >œ œ œj œ œ >œ œ œj œ œ > > >œ > > > œ œ œ œ œ >. . >. . œœœ œœœ œœœ œœœ œj œ œ œœj œœj œ œ œ œj œ œj œ œ œ > > > > > > >j
ã S S S S S S S S S S S S S S S S S S S S S S S S ! ! ! ! œ œœj œ !œ œ œ œj œ œ! œ! œœj œ !œ ! œ œj œ œ S S S S S S S! ! ! ! ! S S S S œœœœ S S S ‰ S Œ
BD
! ! > ! r RLR
œ œ œ
R L R R
Crashes Crunches CrashChokes Reg CrashChokes Reg Crashes CrChoke

ã œ Œ œ Œ Œ ‰ œ Œ œ Œ œ ‰ œŒ Œ t Œ t Œ Œ t Œ t Œ œ. œ. œ. ‰ Œ œ. œ. œ. ‰ Œ œ Œ œ Œ œ Œ Œ Œ Œ ‰ œ Œ
14

t t œ
C
J J J
U U A B A B U U U U U U A B A B A B A B A B U

*Other insert variations may be added later.

©2014 University of Pittsburgh Drumline